Mariusz Kwiecień

“The basis for this recital is refreshing...Kwiecien really enters the spirit of [The Haunted Manor aria], his focused voice blazing forth in what was the composer's barely concealed encouragement of his countrymen after their unsuccessful uprising against the Russians in 1863...The final scene of King Roger, in which the orchestra holds sway for some while, finds the baritone releasing his sound to the fullest.” International Record Review, January 2012

“The basic sound – a mix of grit and velvet – is immensely appealing, though there are moments of constriction in his upper registers, and an occasional pulse in his tone. On the plus side, he has a remarkable ability to colour his voice to suit each character, so that Borodin's Prince Igor, thinking of his wife on the eve of battle, sounds very different from Rachmaninov's Byronic Aleko, teetering on the edge of self-destruction.” The Guardian, 5th January 2012 ****

“Your head might explode in the final track of Slavic Heroes. Bombarded by treacly tones and the lush eroticism of Szymanowski's Król Roger, this is heady stuff indeed. But it's just one of many such treats on Mariusz Kwiecień's new recording...The sheer lyrical arrogance of his dismissal of Tatyana breaks your heart. And, as if playing the opera for real, his Act 3 aria is palpably neurotic... I cannot wait to hear Kwiecień performing these roles live.” Entartete Musik, 8th January 2012

“Kwiecieñ fields wide variety of dynamic and tone-colour to convey dramatic mood...he is greatly aided by the exceptional playing of Borowicz's marvellous orchestra, and indeed by his conducting, which raises this disc high above run-of-the-mill recitals. Their hair-raising account of the finale of King Roger is alone worth the price....This is a lovely disc, thanks to both singer and conductor.” Opera, February 2012

“His Onyegin...is close to ideal: lyrical, still youthful, attentive to nuances of notes and text. Roger’s ecstatic Hymn to Apollo could hardly be bettered today.” Sunday Times, 22nd January 2012

“Like Tchaikovsky's hero, Kwiecien's programme vacillates between hauteur and abandon, contrasting various arias with no apparent strain. The Czech repertoire ("Certova Stena" and "Selma Sedlak") is on a more intimate scale, but "Hymn to Apollo" from Szymanowski's King Roger is divine.” The Independent on Sunday, 22nd January 2012

“[His signature roles] suggest a certain dashing Italianate quality that's refelcted in his voice: lighter, less rich and chocolatey than some Slavic rivals, for example Dmitri Hvorostovsky. But he also sounds more luminous and less thickly textured, with excellent diction and bel canto agility...Backed by an obviously committed Polish conductor, Kwiecien offers a seriously appealing recital, recorded in first-rate sound.” BBC Music Magazine, February 2012 ****

“this thoughtfully planned recital holds several welcome discoveries, and Kwiecień’s assured performances are an enticement unto themselves...Apart from passing traces of constriction on top, Kwiecień delivers everything robustly and sensitively, and receives fine, idiomatic support” Classical Review, January 2012

“the programming fills a valuable niche...Invariably, Kwiecien gives vocally solid, passionate accounts of the music. His well focused (if not exceptionally glamorous) baritone gives a luxuriously clean sense of line...Kwiecien's Onegin is particularly nuanced.” Gramophone Magazine, March 2012

“There’s a husky darkness to the voice. It’s frequently beautiful, but highly expressive, especially when used with real restraint. The attraction of this well-produced aria disc is the repertoire...Play it at maximum volume and weep.” The Arts Desk, 17th March 2012

“Any frisson between the lovers is supplied by Rolando Villazón's impassioned, impulsive, gloriously sung Rodolfo. Fellow Bohemians Marcello and Schaunard are lively and quick-witted, though Colline tends to wobble in his "coat" aria. Nicole Cabell sings with gusto in Musetta's irresistible waltz song. Without short-changing the moments of extreme tenderness and pathos, De Billy conducts with youthful ardour and an acute feeling for the score's variegated colours. All the more frustrating, then, that Netrebko's Mimì bears only a sketchy resemblance to Puccini's "soave fanciulla".” The Telegraph, 21st June 2008

“There is...some fine singing to be heard, all from Rolando Villazón, whose Rodolfo is irresistibly ardent and sustained on a wonderfully burnished tone. But Anna Netrebko, the other half of the much-vaunted dream pairing, is detached and profoundly unmoving as Mimi; there's no colour in the voice and no dramatic credibility in her relationship with Rodolfo, although the way in which the recording spotlights each voice destroys all theatricality anyway. The coarse-grained efforts of the Musetta (Nicole Cabell) and the Marcello (Boaz Daniel) to grab their share of the spotlight only make things worse. Some of the tempos that Bertrand de Billy adopts suggests he was trying to get things over as soon as possible.” The Guardian, 23rd May 2008 **

“It is succulently dramatic – a tribute both to the stars’ power and the conductor Bertrand de Billy’s dramatic ability to steer the score at the drop of a note from uproarious jollity to the shiver that spells death. Villazón, of course, comes up to the mike first, bustling through the opening garret scene with an electricity that immediately separates him from Boaz Daniel’s Marcello and the other bohemian chums. Villazón’s Rodolfo radiates Latin heat throughout: every mood, from ripping bravado through tender concern to abject loss, is vigorously yet tastefully conveyed. Frailty may not be Netrebko’s middle name, but she dampens her force sufficiently to be fairly convincing...Finding the right balance between Mimì’s ill health and a diva’s lung power is never easy: Netrebko comes closest in her impressive D’onde lieta in Act III.” The Times, 16th May 2008 ****

“Vividly recorded, vigorously conducted and sung by a distinguished cast still in their relatively youthful prime … This is a recording which takes its place alongside the acknowledged 'classics'. ” Gramophone Magazine, June 2008

“As Rodolfo, Rolando Villazón is magnificent, by turns ardent and angry and there's a stream of bright golden tone in a ringing 'O soave fanciulla'.” BBC Music Magazine, May 2008 ***

“Vividly recorded, vigorously conducted and sung by a distinguished cast still in their relatively youthful prime, it presents the score with an appeal that will be readily felt by newcomers and with a freshness that will make those of riper years feel… well, feel young again.
Act 1 moves quickly up to Mimì's entry. The vigour is not brash or wearing; there are moments of respite, but it is conducted as a symphonic unit, a first-movement allegro giocoso. The love music takes its natural pace, though it adds a silent beat immediately following Mimì's solo and another before the start of 'O soave fanciulla'.
The Second Act registers clearly as a symphonic scherzo, or, in this arrangement where you play the first CD without a break, as an extended Mozartian finale. The various elements – the main solo group, the Christmas Eve crowd, the children (in splendidly disciplined high spirits), the stage band – are all well defined and the great ensemble runs its joyful course so that we can almost feel ourselves to be part of it.
Among the singers, it is important that Marcello has the presence and gaiety to be the life and soul and Boaz Daniel has all of that. Stéphane Degout as Schaunard may be a little too like him for the purposes of the recording but is lively and stylish. The Colline, Vitalij Kowaljow, is less effective. The lovers Anna Netrebko and Rolando Villazón are a famous pair and deservedly so. His voice is richly distinctive, his style genial and ardent. Netrebko is pure-toned and ample in climaxes. As Musetta, Nicole Cabell shows many of the qualities of a well cast Mimì – might Netrebko (a little solid and sturdy in vocal character for the Mimì of these acts) not have made a brilliant Musetta, as Welitsch did? In the remaining acts no such qualms arise.
Netrebko sings with feeling and imagination and Villazón is an inspired, golden-voiced Rodolfo. In fact, these are as finely performed as in any recording. The orchestra play almost as though reading a supplementary libretto, so vivid is their commentary. This is a recording which takes its place alongside the acknowledged 'classics'.” Gramophone Classical Music Guide, 2010

“Villazòn is nigh-on impossible to fault. His sure-footed tenor has a wonderfully vulnerable edge. He clothes the most painful dramatic moments in tears, and the effect is heart-stopping; dripping in Puccinian melodrama and every-bit musical.” Andrew Mellor, bbc.co.uk, 9th May 2008

“This new DG recording is surely the La Boheme for our time. The singing of the two stars...is unforgettable. One needs to say little more, except that Nicole Cabell as Musetta and Boaz Daniel as Marcello are equally memorable.” Penguin Guide, 2010 edition ****

“This compilation of highlights from Anna Netrebko's Metropolitan Opera roles makes a distinctive introduction to her talents...it's her solo aria from Roméo & Juliette that proves one of the stand-out performances here, the other being a dazzling showstopper from Donizetti's Lucia di Lammermoor, "Il dolce suono", which has the audience justly bawling its acclaim.” The Independent, 30th September 2011

“They show Netrebko’s chameleon-like ability to alter her timbre according to repertoire: the ethereal, Sutherland-like soprano in Donizetti and Bellini is unrecognisable as the singer who delivers a hard-edged, glinting Natasha in Prokofiev’s War and Peace.” The Times, 1st October 2011 ***

“The real treat is her Natasha in Prokofiev's War and Peace, conducted by Gergiev, with Dmitri Hvorostovsky as a dreamy Andrei. It's nicely recorded, too: some of Netrebko's discs capture the power of her voice at the expense of its opulence; here, you get a real sense of its force and beauty.” The Guardian, 13th October 2011 ****

“there is an alert sense of drama, which is where Netrebko really scores as a singing actress...While her bel canto is judged 'could do better', it's worth considering that, at 40, Netrebko is now just entering her prime.” International Record Review, November 2011

“The predominant tone is of simple lyricism, and Kurzak captures it beautifully with her glinting soprano, moving easily between melancholy and shy eroticism...Kwiecien sings with soft-grained warmth, and Nelson Goerner is a lively accompanist who draws wonderful colours from the 1848 Pleyel.” BBC Music Magazine, September 2010

“[Kurzak] imparts an elegant sadness to 'Faded and Vanished', with some beautifully placed upper notes. Kwiecien, sporting a most agreeable tone, with focus and smoothness, is equally pleasing on the ear...He introduces sufficient light and shade to reflect the words whatever the song. He and his fellow artists make this a very worthwhile and satisfying disc.” International Record Review, July/August 2010